by Lauren Tischler

It is safe to say that hip-hop prodigy Scott Mescudi, better known as Kid Cudi, has a lot going for him. His debut album Man on the Moon: The End of Day sold 104,419 copies in the span of a week, he stars in HBO’s “How to Make it in America,” and has collaborated with hip hop greats such as Common and Kanye West. The rapper, singer, and actor is on the top of his game after a few short years, and the much awaited release of his newest album Man on the Moon II: The Legend of Mr. Rager tells us he’s not stopping anytime soon.

Considering the amount of success that Kid Cudi’s breakthrough album had in 2009, it was instantly obvious that the follow-up had to meet some high expectations. Whether the album meets these standards is debatable. The album opens with the rapper crooning promising lyrics. “You are now in the world I am ruling,” he expresses, followed by a soulful chorus sung by Gnarls Barkley’s Cee-Lo Green. The song is seemingly a prelude to an album that we believe will be somewhat like Cudi’s first work: refreshing and youthful. What follows, “REVOFEV”, meets our anticipations with a mysterious, psychedelic drum beat and instrumental track.

While the first two tracks of Man on the Moon II are convincing, the rest of Kid Cudi’s album proves to be wary. The tracks are unmemorable and seem to blend together as the album progresses. “Don’t Play this Song” is a dull composition with monotonous lyrics, and while Mary J. Blige is featured on the track, even she fails to impress. “MANIAC” featuring St. Vincent and Cage, and “Erase Me” with Kanye West again prove that even an impressive line up of guest vocalists does not attribute considerably to success of any kind on Cudi’s album.

Although Man on the Moon II is not Kid Cudi’s most outstanding work, it shows us a side of the artist we have not seen in his earlier music. Since Kid Cudi’s first album, he has become a father to a little girl named Vada and has been arrested for criminal charges and drug possession. The artist has also, in the past year, opened up about a heavy cocaine addiction. Though we should not hand Cudi a free pass because of these trials, it is unquestionably a factor to be taken in when considering his newest album. Man on the Moon II is blatantly dark and exemplifies these problems in Cudi’s life. This effect can be seen, for example, in “Wild’n Cuz i’m Young”. Kid Cudi speaks of how his father’s smoking and drinking habits influenced him over an eerie synth line. “These Worries” is another cryptic narrative. The album closes with “Trapped in my Mind”, and while the track is not catchy or noteworthy, Cudi’s lifeless delivery provides a surprisingly fitting conclusion to the album.

So despite the fact that Kid Cudi’s new album won’t be perpetually blasting from my stereo in contrast to his early release, it serves another purpose. Man on the Moon II: The Legend of Mr. Rager introduces us to an intimate artist named Scott Mescudi, rather than the pop culture icon Kid Cudi we know and see everyday.

Kid Cudi – Scott Mescudi vs. The World (ft. Cee-Lo Green)

Kid Cudi – REVOFEV

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Light shows are not exactly synonymous with indie bands. Superfluous visual appeal and leisurely expenses are not the most attractive concepts to artists on a budget, even if it supplements their music well. I am not sure exactly how Morningbell are able to conduct a consistently impressive light show for less than $100, but this DIY resourcefulness is something that is not only echoed in their colorful array of lights. This is also a group that hardly needs the excess when they play live; the light show is merely a luxury, for they would still remain captivating if their show took place on a tree stump. Perhaps a frenzied local following could attribute to the band’s apparent motivation when performing. Their reputation among fans in Florida, specifically college students, is intensely strong for a group as new and uncovered as Morningbell and there is little to suggest that this is an illusion. Originally based out of Miami when it was formed in 2000, Morningbell’s first lineup included brothers Eric and Travis Atria along with Eric’s girlfriend, Stacie Thrushman. They went under the name Future Feels Good and released an EP, The Day I Was Born, in 2002. The trio changed their name to Morningbell in 2003 following a move to Gainesville, stirring interest Their shows began to resemble Florida Gators games, and all of a sudden Morningbell were becoming one of the hottest thins in town.

The composition of Morningbell is fairly normative for an indie-rock group, seeing a bunch of day-time professionals rocking out a bit. Guitarist/drummer/vocalist Travis Atria worked as a journalist for the most part, while Thrushman was working as a veterinary student before lending her keyboard skills to the group. Travis’ brother and Thrushman’s husband, Eric, is a public defender and the group’s bassist. Though the group has yet to reach that quit-your-day-job status, it does not look that far off. Their first few EPs were fun but lacked the explosiveness to show this, which set up 2007’s densely enjoyable Through the Belly of the Sea as the release that would commence Morningbell’s vigorously growing reputation. The release’s title included “A Choose Your Own Adventure Album” at the end, a rather enjoyable and relevant reference to those Goosebumps books many of us read as kids. The method for this was that Morningbell included directions of sorts in the liner notes, directing listeners toward specific songs in response to their personal experience of previous songs. It almost played like a children’s book complemented by beautiful flourishes of psychedelic rock and indie-pop, featuring monsters and shipwrecks throughout an “undersea adventure” which encompassed “chapters” that allowed listeners to experience it in a unique manner. Even the listeners that ignored the instructional adventure had a positive experience, as even without thematic ingenuity Through the Belly of the Sea is a worthwhile release that shows the first glimpses of a group poised for the big time.

Morningbell’s fourth release, Sincerely, Severely, continues upon the ambition of its predecessor without using a unique listening device, like the choose-yr-own-adventure they undertook in 2007. For a group that dominates with light shows and seafaring narratives, it would be difficult to call this a straightforward album. Somewhat contrary to their previous release, Sincerely, Severely relies on accessibility and song-based functionality instead of resourceful devices, making it their most accessible effort to date. Through the Belly of the Sea was a nice refresher of nostalgic indie-rock with its psych-pop and classic-rock fixings, but Sincerely, Severely marks the point where Morningbell have combined their strengths to produce an album even more memorable than their last. It begins strikingly from the get-go, with “Let’s Not Lose Our Heads” using toothbrushes as percussion and highly distorted bass to immediately enforce the rhythm section’s flexible potential. Its traditional structure and lighthearted vocal delivery should remind listeners of Weezer or The Wrens, two bands that really took coarse ’90s alt-rock by the throat and turned it into amiable power-pop that attained plenty of radio airplay and critical acclaim. Travis Atria’s vocals can resemble or Animal Collective-like world influences, like on “Marching Off to War” and “Good Morning, I’m Here”. The latter emphasizes a youthful desire to live forever, accompanied by an outstanding vocal performance that relives the guitar-led hooks of ’90s alternative-rock. This track in particular makes it sound like Morningbell have been around for at least two decades, sounding anthemic in a guitar-led enigma that was reflective of both the popularity in Brit-pop and grunge during that period. It is great nostalgic fun like Through the Belly of the Sea, but there is considerably more ingenuity and consistent quality throughout Sincerely, Severely to separate itself from its predecessor.

In addition to resembling anyone from Avey Tare to Rivers Cuomo, Atria’s vocal performance takes another leap on “Soul Ma’am”. As the title may suggest, he soulfully croons his way over a stunning array of guitar progressions that distinctively resemble classic-rock in the vein of the Allman Brothers with its southern-y twang. Combine this fascinating infusion with soulful brass and his spot-on falsetto and you have one of the most interesting tracks on Sincerely, Severely. His vocals quiver and bounce about alongside a very playful bass line, being quite typical of soul in its contagious combinations. It also stands as one of the most technically impressive efforts, as the transition from blue-eyed soul to subtle southern-rock is not as easy as it sounds. If you are looking for more straightforward soul then the catchy “King Mango Strut” will fill your needs as well. The near-instrumental “The Blue Whale and the Fly” is also notable for its usage of soul, once again using brass and expertly timed falsettos. Soul is not the primary focus here though, as everything from polka to rockabilly is displayed with its worldly selection of instruments and melodies. Tracks like “Pictures of the Sun” and “Good Morning, I’m Here” bring us to more familiar psych-rock territory with their beautiful layers of reverbed production and certainly fulfill those needs, bringing us to the special thing about Sincerely, Severely. This album is basically like a buffet of stylistic treats, with everything from slowly developing psych-rock to swift soul and rockabilly conquering. It is remarkable how each track uniquely identifies itself, whether it be through toothbrush-percussion or psych-rock elegance, and it derives a unique classification that could make Morningbell one of the biggest breakouts of 2009.

RIYL: It depends on the song… Weezer, Animal Collective, The Wrens, British Sea Power, The Rosebuds, Harvey Danger, and Aqueduct all come to mind though.

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Morningbell – Good Morning, I’m Here

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Morningbell – Soul Ma’am

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Morningbell – Marching Off to War

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Continuing with the recent theme of atmospheric pop music that Washed Out and Neon Indian showed us, Her Vanished Grace deliver a similar sort of layer-based sereneness that differentiates itself through dark and moody Brit-rock instead of chilly electronica or sample-based experimentation. By most accounts, Blue is their tenth release of new material since their debut, State of Grace, was released in 1991 with a promising take on atmospheric pop that revolved around assorted guitars and keyboards. Her Vanished Grace’s actual number of releases is somewhat debated due to their cult-like following, which has manufactured many assorted mixtapes and compilations in itself. If one thing is for certain though, it is the rare capability that this band has to remain interesting as time goes on. As their tenth release Blue shows us, it does not take a precise discography for a listener to witness Her Vanished Grace’s maturation. Their initial career reaped from interesting use of post-rock, noise, and shoegaze, wearing influences like Sonic Youth and My Bloody Valentine on their sleeves despite noticeably lo-fi production that prevented the New York-based group from reaching widespread recognition. Their work still touts those prestigious influences today, but now they infuse more of their originality in an effort to differentiate themselves. So far, so good.

The most recent incarnation of Her Vanished Grace commenced in 2000 with Colors Vols. 1 & 2, when the founding husband-and-wife duo of Charles and Nance Nieland disbanded the initial workings of Her Vanished Grace and combined forces with bassist Maria Theodosiadou and drummer Brian Haarer to form a more full-bodied version of their initial group. A vigorously talented rhythm section and higher-budget recording methods in addition to the songwriter-guitarist husband-and-wife duo paved way for their most successful period in the early to mid 2000s. Five new albums were released after Colors, the most recent being the excellent Blue. Although their success to date has been gaining momentum for several years now, Blue may be the knockout punch that propels this band from obscurity to unanimous acclaim. Charles and Nance met at New York’s Metropolitan Museum of Art about two decades ago, and ever since then they have been working together to pursue their dream of musical success. Time is only relative for artists, and many may consider success occurring after attributed experience is better than success prior to experience, for it is a factor that is a monumental factor in determining an artist’s durability.

Durability is synonymous with Her Vanished Grace, at least in the sense that longtime fans have yet to be disappointed with the four-piece. Billy Loose has since replaced Haarer on drums but the original duo along with Theodosiadou are still there along with their ambitions. In terms of stylistic exploration, Blue has little to offer in terms of breakthroughs, but their blending of familiar styles like power-pop and shoegaze into one beautiful audible landscape make up for any lack of stylistic innovation. To enjoy Blue one must push aside any stylistic biases regarding shoegaze, as common stylistic elements like reverb and gushing guitars are abundant but not utilized in a conventional manner. Since the melodies are crisp and polished in the form of modern indie-pop instead, the regressing influence is not exposed in the way one might expect. The excellent self-titled track instead reaps from an infectious blend of power-pop and post-punk, being grounded in production techniques involving heavy doses of reverb, thick tremolos, and heightening guitar arpeggios that clash with a bustling rhythm section to consume the listener through both pop-minded appeal and atmospheric vision. Like predecessors in the vein of Sonic Youth and Ride, Blue marks Her Vanished Grace’s true emerging period as a group putting their ambition to accessible use without sacrificing the ingenuity that got them there in the first place.

Although both Charles and Nance contribute vocal duties on Blue, Charles is primarily used due to the way his brooding vocals accentuate the retrospective and forlorn aroma of post-punk and shoegaze most commonly attributed to Her Vanished Grace. The band employs their differing vocal styles well, allowing each specialty to reap from their eclectic use of instrumentation. For instance, Charles is lead on the empowering “Blue”, where a brilliantly moody chorus provides awe-inspiring embrace in washed layers of guitars and synth pads. Its strength is dependent on darkening mood and evolving versatility, growing from an emotive guitar-driven piece to one guided by distinctive layers of sound that accompany a versatile croon that goes from low-pitched to an ethereal chant of sorts with heightened pitch. Charles’ presence is felt in the album’s darker tracks, leaving room for Nance to take control of more lighthearted efforts like “Rush”. With a better grasp of bubblegum-pop or lighthearted indie-pop in the vein of Metric or Mates of State, “Rush” works by using a bunch of repeating guitar chords before exerting itself into a chorus that reminds me of 90s Brit-rock in the vein of PJ Harvey, Black Box Recorder, or even less absurd Morrissey efforts like “Reader Meets Author” with its swirling sort of guitar-based simplicity. Although it strains itself from too much repetition, it is a nice reliever from Her Vanished Grace’s more emotionally complex efforts like “Blue and “Remember”, as enjoyable as they are.

The latter is narrative in approach as Charles and Nance participate in a duet, again retracing their steps to the amiable type of alt-rock that was abundant throughout the ’90s. With Charles’ vocals at times sounding like a cross between Gruff Rhys, Morrissey, and Hayden Thorpe (Wild Beasts), his versatile approach does wonders to this respective style along with the band’s tendency for anthemic hooks. Nance’s contributions contrast somewhat in terms of style, but the parallel creates very refreshing circumstances that are simply a testament to the group’s valuable chemistry. The diversity between efforts like “Blue” and “Rush” summarize the album’s success quite well, as Blue serves as an enjoyable release that relies on the band’s gathered experience in the spectrums of pop music and layer-based atmospherics. Without the experience of nearly two decades I would be surprised if Blue would have even been possible, but Her Vanished Grace have undoubtedly reached an artistic peak by doing so without sacrificing what got them here in the first place.

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Her Vanished Grace – Blue

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Her Vanished Grace – Slip Away

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Her Vanished Grace – Remember

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When projects attempt to be conceptual in both their style and purpose, there arises a sensitive area where criticism has difficulty retreating from the subjective to the objective. What we define as “quality” is premeditated by our own personal taste and is primarily subjective, but a release can also reach a consensus of inarguable quality and influence that gravitates more toward the objective. This almost always occurs quite some time after the initial release, for the term “instant-classic” is rarely used properly and often exaggerated when done so. If you wish to listen to The Kilimanjaro Darkjazz Ensemble, you are probably going to have to leave any of these subjective perceptions of quality at the door. You cannot compare anything definitive to this project, another brainchild of the ceaselessly active and multifarious Jason Köhnen. He is best known for Bong-Ra, another project of his since 1996 that has emerged as one of the most respectable sources of quality breakcore, which is basically a fancy name for industrialized techno with heavy percussion and samples at high tempos. Most of his projects possess these obnoxiously non-descriptive names like breakcore, but he is obviously not to blame. In fact, when you are as constantly innovative as Köhnen, listeners have no choice but to make up sub-genres in order to express what tickles their fancy.

It is always easy to cover an artist that fits generic words like “breezy indie-pop” or “tender acoustics”, but when using these terms without further clarification it tends to be an indicative of lacking originality. Perhaps this is why I am lost when attempting to concisely describe The Kilimanjaro Darkjazz Ensemble, as their swirling assortment of influences and stylistic directions allow the listener to take a full-bodied ride into unchartered territory with touches of jazz, post-rock, electronica, and IDM without being too overwhelming. The Kilimanjaro Darkjazz Ensemble formed in 2000 out of mutual admiration for silent filmmakers that used powerful music to convey raw emotion in synchronization with visual content, an interesting influence since this concept is often lost in modern film-making for special effects and generic instrumental covers. Notable influences included F.W. Murnau, Fritz Lang , and even somewhat contemporary works by the likes of Jan Švankmajer (check out his 1988 stop-motion interpretation of Alice in Wonderland for some cool stuff). The members of The Kilimanjaro Darkjazz Ensemble were so enthused by the passion of these filmmakers that Köhnen and co. began composing scores to already existent films, arranging soundtracks to the classic likes of Nosferatu and Metropolis in order to hone their experience in the most unique way possible.

As a true pursuer of stylistic ambitiousness, such tactics are hardly a surprise for followers of Köhnen. There is no method or style that seems beyond his reach. Bong-Ra played with everything from dance-rave to avant-garde jazz, a feat that was diverse enough to receive acclaim from the likes of John Peel (who included him as one of the 125 best Peel sessions ever). I admittedly find breakcore to be a frustrating genre, often sounding cluttered due to repetitive tempo or lack of melody altogether, but Köhnen’s work tends to appeal more to the majority despite his distinctively avant-garde leanings. Although his layers may have occasionally been too complex or his ideas overly thematic to grasp, Bong-Ra showcased a variety of genres like hip-hop and jazz that did not abide by breakcore’s very specific classification. In comparison to this, Köhnen’s new foray with The Kilimanjaro Darkjazz Ensemble is more straightforward, but also packs more of an emotional punch than any of his earlier material. Whereas his previous work would have sounded best at a rave party, this work with The Kilimanjaro Darkjazz Ensemble instead sounds like the ambiance of Hades, where contemplative sorrow is displayed more than impulsive excitement. The dramatic alteration in mood is one notable aspect of the transition to Köhnen’s new project, and it is not the only one either.

The stunning parts of The Kilimanjaro Darkjazz Ensemble’s third album, Here Be Dragons, are abundant, but not in the instantaneously infectious sort of way many are used to. Keep in mind that this is the same sort of stuff that World’s End Girlfriend have done so well, where full-blown orchestras combine with jazz percussion to craft audible worlds that are bleak, serene, and chilling. Too in-depth to serve as a film soundtrack, the works of these artists are often overlooked due to the sheer complexity and scope of the project. The beautiful “Embers” is one of the more concise efforts on the album, but it still builds with collapsing thunder as brass, horns, and the ghostly vocals of Charlotte Cegarra evolve into both vocal-led emissions of fury and smoothly presented saxophone solos. The diversity on tracks like these throughout the album is absolutely extraordinary, a true landmark achievement even for an artist as eclectically inclined as Köhnen. “Embers” almost has that sort of ethereal, crystal-y feel to it that is reminiscent of Air’s Moon Safari days, especially in the way Beth Hirsch sent chills up listener’s spines on “All I Need” with her fragile croon. The parallel between the somber and free-fleeting moments of “Embers” are the best parts; the brass solos and detached vocal additions are juggled masterfully.

It would be acceptable if the rest of the album sounded like “Embers”, but any fans of the Utrecht-based Köhnen know that it is his tendency to mix things up. “Sirocco” is an amiable effort with the initial giddiness of Afro-pop keys making one of those oh-so-brilliant Köhnen mood transitions. Cegarra’s vocals appear alongside the strings, which sound very thick and reverb-heavy over a haunting melody that already portrays darker elements on its own. The percussion here is certainly influenced by his earlier works, as the industrial feel is heavily prevalent in both that and the backing atmospheric pads. “Mists of Krakatoa”, while lacking the general passion of the other two tracks, is exceptional for its sheer curiosity in blending Cegarra’s operatically inclined vocals again with strings, except unlike in “Sirocco” they collide here with a piano in minor key and the backing whirring of what faintly sounds like machines at work. This is less structurally cohesive than the others, like the fantastic opener “Lead Squid” or plucked goodness of “Caravan!”, but still retains its value through innovative sophistication and cumulative emotional expression. Some tracks on Here Be Dragons may take too long in their introduction or conclusion, but in their climaxes they will convey a type of innovation and musicianship that stands out even among the avant-garde.

RIYL: World’s End Girlfriend, Portishead, the later and more experimental years of Talk Talk

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The Kilimanjaro Darkjazz Ensemble – Embers

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The Kilimanjaro Darkjazz Ensemble – Sirocco

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The Kilimanjaro Darkjazz Ensemble – Mists of Krakatoa

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We are producers. We make music for you. This is what UltraChorus convey on their web site, almost sounding like they cater to artists more than listeners in doing so. Such circumstances have the likelihood of create hazardous listening barriers, but in the realm of electronic-pop music it can actually make the process more seamless and enjoyable. Their “for-artists, by-artists” approach primarily relates to the handful of remixes the Minnesotan duo has released thus far, the artists including Phoenix, The Presets, and Daniel Merriweather to name a few. It would be easy to call UltraChorus – and other recent acts focused on remixing – a desperate plea for artistic individuality in the skewering of one’s work to compensate for your own lack of creativity, which is of course true for some. But in UltraChorus’ case, their first full-length release of original material shows how their experience with remixing contributed to an enjoyably individualistic sound that undoubtedly benefited from both practiced working and listening methods.

Electronic music, like any genre, requires practice and trial-and-error to increase one’s skill. However, considering that the genre relies on more intricate technology, one could make the argument that a melodic ear and great songwriting craft are not as prioritized as one’s technological grasp. In experimental music this can easily be the case, but when keeping in mind the implementation of pop music there remains a sense of simultaneous attentiveness that would result in generic placidity if ignored. Hot Chip, Chromeo, and Phoenix are a few examples of artists that maneuvered these waters successfully, and UltraChorus follow their footsteps in relaying a fun and infectious form of electro-pop that blends seductive R&B with tinges of art-rock and dance. This blend has been mashed together before, but UltraChorus’ prior familiarity with the practice of remixing leads to certain components that one would be hard-pressed to find in most other electronic acts. With this arises a question of whether UltraChorus or more electro-pop (Hot Chip) or art-rock (Phoenix). Perhaps certain technology at their disposal can reveal this.

Vocoders have been damned to hell by most “savvy” listeners by now. I agree with them for the most part, except when an artist executes it like UltraChorus have done on Ultra-Def. An example like this brings to mind how it is not the technology we detest that results in failures, but rather the culprits that misuse a device or method and provide it with a negative stigma. Listening to Ultra-Def in full will reveal UltraChorus as one of the good guys, using the vocoder not as a means to disguise melodic flaws but rather as a stylistic additive and songwriting tool. The opening “Scarlet Eyes” is shrouded in disco-infused bass lines and fragile piano progressions, making the vocoded element somewhat of a flash toward modernity. Like Pet Shop Boys, UltraChorus are able to turn electronic-pop into a meshing of several decades, this case being a fusion of ’70s pop and general balladry. The vocoded element is subtle and used somewhat sparingly in accordance to the track’s respective hook, and when it is utilized it provides a surprisingly refreshing take on electronic-pop without sounding too desperate for commercial attention.

Fans of the previously featured Pacific! are bound to fall in love with UltraChorus. That same sort of Swedish electro-pop wizardry with its glistening synths and heavily danceable rhythm section is prevalent, even if these two guys are from Minnesota. The same simultaneous focus on technical and pop-minded ideologies is evident though, as the diversity on Ultra-Def can show. “Bestin the Farther” tends to expand into flourishes of strings over its rigid keyboard progression; the vocoder is again featured to spice up the chorus’ emphasis on synthetic constructions. The subsequent bridge, featuring sped-up vocals over warbled synths, also tend to benefit from the device in its translation to a rhythmically complementary component. Swanky efforts like “Yucatan Peninsula” and “HouseParty5” benefit from sparse keyboard arrangements that are complemented by occasional bursts of bass, which always seems to be at its lowest tone possible. How the high pitches of twinkling synths collaborate with the lower resonates of bass is outstanding in crafting a serenely supreme atmosphere, paving the way for plenty of hooks in the process. “Hope that someday we’ll meet at that little cafe at the end of the street,” the vocals hopefully implore during the track’s final moments, attempting to make the daydream less of a dream by subsequently asking cream or sugar. The musings are simple and easy to understand, but the music resonates deeper than expected.

Although a mere three tracks are sampled here, I would strongly recommend all fans of electronic-pop to pick up Ultra-Def by Ultrachorus for the rest. What may sound like just another vocoder-aided electro-pop act will provide a treat upon extended listens. This is the rare type of pop music that emerges most prominently after familiarity reigns. Once you become accustomed to the album’s efforts, the element of predictability seems to coincide beautifully with the album’s concept of straight-laced hooks, simple-minded relations, and irresistible bouts of infectiousness. Ultra-Def is a remarkable effort by a Minnesotan duo that is poised for success.

RIYL: Pacific!, Hot Chip, Phoenix, Squeeze, Chromeo

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UltraChorus – Scarlet Eyes

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UltraChorus – HouseParty 5

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UltraChorus – Bestin the Farther

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Identifying the differences between concise indie-rock and avant-garde developments are more complex than analyzing track’s duration and selection of instrumentation. There are supremely talented musicians in each spectrum, with their method of choice usually being dependent on inspirational or influential precedents. But when we try to compare the Spoon’s and Phoenix’s of the world to a group like Animal Collective, it is more ideal to simply say that two produce indie-rock and the other puts out experimental indie-rock. To define something as experimental is usually subjective after all, though the ambition of certain artists will always remain indisputable. But when we use that term, it tends to designate an artistic technique that is either derivative and manipulated to wildly innovative means or entirely original in that it accomplishes something singularly unique despite some minor miscues (which are to be expected, as they can eventually unfold as a contributory entity). Each spectrum occasionally overlaps with one another, but for the most part the concise rockers and audible scientists remain consistent in separating themselves in the fact that experimentation has little to no commercial allure. I am not referring to the readers of this site or others similar, as they tend to exist outside commercialism’s grasp, but rather the ones that rely on advertisements and incomplete samples to form an opinion surrounding their potential interest in an artistic topic.

As consumers we tend to eliminate the mere idea of trying something more than once if the previous endeavor was not worthwhile, leaving many musicians with an unfair disadvantage in selecting their stylistic output. There is a generalization to group all music that surpasses commercial expectations in the realm of experimentation, which is quite rash considering it is one of the only genres where no prior template is possible to work off of. Sure, you could say Animal Collective borrowed components from The Beach Boys and Paul Simon among others, but there is no exact science in determining whether an artist has utilized the precise same template as a peer. It may be similar to another, but like a fingerprint there is not one exactly like it. Jesus H. Foxx could say that their influences had a role in their sound, but their uniqueness comes in their ability to border between punchy indie-rock and thought-provoking experimentation with seamless precision. The result is one of unparalleled, ceaselessly exciting awe. It sounds familiar and nostalgic while concurrently providing refreshing ideas to pop music that have delighted my ears in addition to the majority of critics that have stumbled across the British septet thus far.

Originating in the summer of 2007, Jesus H. Foxx was primarily the remnants of several fallen bands around the Edinburgh area. The collection of longtime released their debut 7”, Tightt Ideas, in 2008 as a five-piece in before acquiring two more members. They now consist of two drummers, three guitarists, a bassist, and a cornet/glockenspiel player as a result. Self-admitted fetishists of American experimental indie-rock in the vein of Animal Collective and Deerhoof, they appear indebted to groundbreaking innovations equally to accessible, psychedelic-minded pop music. This remains particularly reminiscent of Arthur Russell, whose work was so uniquely ambitious that it would be impossible to hear it prominently within the work of others unless they were sloppily ripping him off. His influence on this group, like the others, is more subtle and only prevalent to those familiar with his work. But like Russell, you can hear the seven members of Jesus H. Foxx aligning their pop ideologies with otherworldly, impressively intricate structures and developments.

Jesus H. Foxx’s new release, Matter, expands upon the impressive territory of Tightt Ideas by diversifying the six tracks on the release. To begin with where it ends, the last two songs on Matter are particularly reminiscent of this aforementioned Russell influence, particularly in the way they both use reverb and unconventionally tuned instrumentation. The self-titled track sees little more than a mumble initially to serve as a vocals, but as the track progresses with the echoes of an acoustic guitar overlapping beautifully over twinkles of keys and spatters of percussion it becomes apparent that Jesus H. Foxx is a group that plans meticulously. The rest of Matter is divided between accessibility and experimentation, with “I’m Half the Man You Were” and “Trying to Be Good” almost stealing the show. Both show a clear Talking Heads influence, in the vocals obviously with the deep oh-so-cool Verlaine tone but more prominently in how the track builds on infectiously concise guitar progressions and pleasurable eruptions deriving from the rhythm section. With female vocals coo-ing behind the snazzy Tom Verlaine-Michael Gira hybrid lead, it makes for a remarkably addictive effort. Jesus H. Foxx takes cue from songwriters like these, who apply strong pop foundations with intricately bizarre influences to create music that is sometimes confusing and a bit overwhelming, but for the most part Jesus H. Foxx are excitedly progressing into an act that we would be wise to keep an eye on.

RIYL: Animal Collective, Talking Heads, Deerhunter, Atlas Sound, Pavement, Arthur Russell

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Jesus H. Foxx – I’m Half the Man You Were

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Jesus H. Foxx – Trying to Be Good

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Jesus H. Foxx – Matter

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The Cubical recorded their debut album during the humid Californian summer, complemented by the production skills of a veteran in Dave Sardy whose resume includes Johnny Cash and The Rolling Stones. A reputable producer, a studio in Hollywood, and touting the glories of a California sun are commonly characteristics of any short-lived, big-label act these days, so it would probably be easy to group The Cubical in with the rest. How premature that would be though, especially considering that their sound is the contrary of such cliches. Their studied approach takes listeners to the past with a refreshing ideology rather than bringing them to familiar territory with nothing but a pre-designed template at their side. This is one way to prove that The Cubical transcend their natural advantages, though Dan Wilson’s vocal delivery is singularly the component that separates them from the others featured on this site that also attribute slight stylistic interpretations to common themes of the past.

That Wilson sounds like a possessed madman just waiting for an exorcism makes his presence uniquely empowering on its own. As listeners will learn though, this is not the primary allure. How Wilson is able to manipulate his half-enraged, half-deranged tone is what brings The Cubical’s debut, Come Sing These Crippled Tunes, to great heights. For instance, we all know that Tom Waits has a coarsely unique voice that is entirely his own. Certainly his audience is attracted to it too, but do you honestly think they would keep coming back if he had nothing to say? He relays all kinds of wonderfully bizarre narratives, but how he alternates his vocal pattern (somber whimper developing into a coarse mumble, etc.) in coordination with the content at hand. The band’s own producer, Dave Sardy, could probably tell you that himself by working with Johnny Cash, who even before Waits had this technique down pat. Neither have the voice that Simon Cowell would get on his knees for, but they were both inarguably able to accomplish more vocalized distinction than any eventual winner of Americal Idol will thanks in part to this ability. Correlating one’s God-given vocal chords with the applicable songwriting that their talents provided them is quite difficult, but artists like Cash and Waits have paved the way for talented musicians like The Cubical in that regard.

As Wilson croons about a certain infatuation with little fingertips and a tiny silhouette on “Edward the Confessor”, listeners will be tempted to either cower in fear and raised eyebrows or take solace in a voice that is one of the most unique devices for interpretation you are likely to find on a rock album. With roaring guitars, bluesy organs, and thunderous percussion, the five-piece tread in territories of rockabilly and power-pop depending on the effort, though modernistic classic-rock might be the best tag for this group. “Edward the Confessor” is frantic in its guitar-powered romps, making room for occasional absences of instrumentation in its entirety for breaks that serve to either introduce a rollicking guitar solo or a coarse rumble from Wilson. Either one is welcome throughout the entire effort as Wilson pleads for forgiveness to a beloved who evolves from an object of infatuation to a symbolic representation of repressed desires and superficial privation. “No, no, pay the price with such fame and virtue,” he screeches, allowing for the shift between repressed forgiveness and exhausted agitation.

Like any good film, the best part about The Cubical is how it keeps the listener on the edge of their seat despite some predictable consistencies. Although Wilson’s voice may take some getting used to in its resonant consistency and tonal pattern, it becomes a redeeming component of the band’s sound in tracks like “Edward the Confessor” and “Like Me (I’m a Peacock)”. The latter begins with a guitar riff that is so soaked in so much reverb and old-fashioned melodic goodness that it immediately invokes nostalgia. The chorus follows a similar path, even if Wilson’s lyrical urgings of ripping his unrequited lover from the ground may have been a bit too risque for the ’60s. The music is not too far from the era though, as the classic-rock feel is better than ever here with nothing more than guitar and rhythm dominating successfully. Wilson calls himself a demon quite suitably in the lyrics as well, and his voice only allows for the listener to picture the face of a disgruntled but talented individual whose repressed adoration has led him to this point. This point? I almost made the point of artistic triumph sound detrimental for a second. My apologies. The Cubical deal with some pretty gruesome takes on romanticism and repressed love throughout Come Sing These Crippled Tunes, but at all points it is simply a refreshing addition to a sound that would not sound appropriate any other way. Would you really want Dan Wilson’s voice to be singing about lollipops and rainbows? I didn’t think so.

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The Cubical – Edward the Confessor

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The Cubical – Like Me (I’m a Peacock)

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The Cubical – Great White Lie

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The media has an interesting way of molding stereotypes within the music industry, regardless of the feature’s innovation or commitment. If a style, song, or particular theme even slightly resembles a popular mold of the past, there appears to be a lesser form of venerability for whatever artist has succeeded it. Now whenever a contemporary group attempts to implement African stylings into a style highly reminiscent of indie-pop, they come to expect rampant comparisons to a group like Vampire Weekend, even if the differing components between groups is unavoidable to the attentive listener. Most major outlets, from the New York Times to the LA Times, have covered this Afro-pop revival of sorts at one point, often mentioning how Paul Simon’s Graceland was an unmistakeable influence for this band and others on successful stylistic debuts. It is undoubtedly true that Simon holds an influence on many of these groups, which are mostly indie-pop newcomers like Vampire Weekend that have utilized subtle components of the genre to cloak a style that is only minimally different from typical indie-pop. Other contemporary groups like Akron/Family, The Walkmen, and Born Ruffians have used it more commendably, opting to . It is commendable for a group like Vampire Weekend to successfully imitate an exotic style and fuse it with something domestically familiar, but I have always been more enthralled by groups like The Walkmen that attempt the fusion in a subtle, more non-imitable form.

It is hard to blame the press for covering groups like Vampire Weekend to an overbearing extent, as they often cater to an audience that listens to singles instead of albums. One must keep in mind though that their lack of staying power is evident by the lack of diversity within their debut, which is very contrary to the likes of The Walkmen or Akron/Family. These groups include their Afro-pop influences as only one color on a painting full of dozens, while the likes of Vampire Weekend seem rather monochromatic in comparison. The LA-based Fool’s Gold use their adoration for Afro-pop quite prominently, but not to the flawed extent where it comprises the entirety of their audible appearance. What separates them from the rest is their designed usage of differing influences; Afro-pop is used more prominently than Akron/Family’s diversified material, but it is not as in-your-face as Vampire Weekend after they turn from cutely adorable to durably obnoxious. In fact, “world music” might fit more aptly for Fool’s Gold, as they combine everything from middle-eastern folk to jazz fusion. The Afro-pop influence is most prominent, but it is not cloaked under generic shades of Americanized pop music. Fool’s Gold is a collective that is too eclectic, experienced, and ambitious for something like that.

The members of Fool’s Gold are not exactly strangers to the game of success; they have all, in some way or form, found a fanbase and/or acclaim with previous efforts. The actual number of members seems to fluctuate, but there are usually a dozen or so that accompany frontmen Luke Top and Lewis Pesacov. Pesacov’s guitar work will sound familiar to fans of the previously featured Foreign Born, another one of his fun LA-based indie-rock groups that released a delightful second album this year. His chirpy, concise guitar progressions always recall the glistening heat of summer, complemented by a highly emotive vocalist in both Foreign Born and Fool’s Gold, Matt Popieluch in the former and Luke Top in the latter. Top provides a deeper and more diversified version of Popieluch’s anthemic croon, all while retaining the same sort of youthful exuberance the makes the occasional campfire odes, exotic delicacies, and other forms of experimentation within the material of Fool’s Gold that much more accessible. Sharing a common love for both American pop music and the open-mindedness to explore music from other countries, the mutual ideologies and skills of Pesacov and Top make them appear as if they were destined to work together. Fool’s Gold self-titled debut shows that at the very least, in addition to showing music fans some great world influences touched with a dab of American pop music. In rare an commendable form, it is not vice versa for once.

The Israeli-born Top makes his voice present by using more than his empowering vocal chords. His native Hebrew is actually the predominant language sung throughout Fool’s Gold, an interesting maneuver considering much of the music stems from African influences. As someone not even slightly familiar with the language, though, I can say that the accentuation adds wonderfully to the components of Afro-pop, most noticeably the backing vocals and constant percussion that echo the genre’s traditions beautifully. “The World Is All There Is” is a track that is arguably most indicative of this, seeing a cast of backing cast following along with Pesacov’s shimmering guitar progression. Sure, Afro-pop is clearly abundant here, but there is an interesting dynamic at play. Pesacov’s guitar, despite its African accompaniment, is more typical of indie-pop, while Top’s Hebrew vocals add yet another beautiful influence at play. Whether this song is played at an African music festival, a bar in NYC, or a hookah bar in Israel, it would likely go over very well.

“Poseidon” presents a keyboard-laden hook that contains a melody more suitable for the Far East, adding to the group’s exotic allure in an even grander sense. One of the most captivating tracks, though, is the excellent “Yam Lo Moshech”, a highly infectious fusion of dance and new-wave pop that uses some explosive brass and an impressively evolving rhythm section to construct one of the most impressive tracks on the album. “Surprise Hotel” is quite fun as the album’s opener, even if it lacks differentiation from Foreign Born or many similarly entitled acts. Still, it is an infectious effort that grows enough to deserve its imminent airplay. Latter efforts on the album, like “Yam Lo Moshech” and “Night Dancing”, expose the group’s more experimental side with bursts of brass and even larger doses of unpredictability, eventually becoming more rewarding despite their initial cautions. Backed by a cast that includes members of a variety of bands, from We Are Scientists to The Fall, the tight musicianship on Fool’s Gold creates a very organic feel that is caused by the meshing of foreign influences and quality songwriting that has no reliance on sparkling production or overly elaborate tactics. It is an album that will grow on listeners by itself, eventually revealing itself as one of the most intricately impressive releases of the year.

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Fool’s Gold – Surprise Hotel

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Fool’s Gold – Yam Lo Moshech

***TRACK REMOVED UPON REQUEST OF IAMSOUND RECORDS***

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Fool’s Gold – Night Dancing

***TRACK REMOVED UPON REQUEST OF IAMSOUND RECORDS***

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Fool’s Gold – The World Is All There Is

***TRACK REMOVED UPON REQUEST OF IAMSOUND RECORDS***

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The post Fool’s Gold appeared first on Obscure Sound: Indie Music Blog.

Even though September brings some of the greatest weather of the year, there is always reason to students to dread its arrival. It is not so much the concept of classes, but rather the obligations that arise from them. I despise having irrelevant topics forced down my throat and ordered to write a generic paper on it, but in the world of journalism I suppose it is something that we all become accustomed to. This year should be better than last though, especially because I transferred to a different university. DC did not treat me particularly well, so it is nice to be in a city that is both familiar and fulfilling to me. Manhattan has treated me very well so far, even if I know absolutely no one here at the moment. Still, I look forward to meeting a bunch of people and taking advantage of my location in Chelsea. I thought I would cover a substantial amount of shows and events in DC, but the city’s insufficient arts scene led that nowhere. Now I have no excuse, so expect plenty of related content from the city that never sleeps.

As for this month’s compilation, August encompassed a variety of different styles. The Wiyos and Kill It Kid both incorporated a Piedmont blues influence that clashed with modern rock and folk to create a uniquely memorable impression, while The XX have gained tons of buzz since I wrote about them in the first week of August. Popularity and critical acclaim seemed imminent for them at the time, and I was merely within the first wave of press that lauded them for their excellent debut. Volcano Choir concluded the month with one of the more satisfying releases of the year thus far. It may not contain the most accessible tracks of the month, but their mixture of minimalism and folk provided listeners with a sound that was arguably incomparable to anything new they heard within the past few years. Enjoy the compilation and best of luck to any new students entering another year full of deadlines, essays, and occasional fun.

01. The XX – Basic Space (post)
02. Volcano Choir – Island, IS (post)
03. Holiday Shores – Edge of Our Lives (post)
04. Kill It Kid – Burst Its Banks (post)
05. Reigning Sound – Debris (post)
06. The XX – Crystalised (post)
07. The Wiyos – Promenade (post)
08. Dan Mangan – Robots (post)
09. Volcano Choir – And Gather (post)
10. Kill It Kid – Send Me an Angel Down (post)

DOWNLOAD ENTIRE COMPILATION>>> (39.3 MB, .RAR)

The post Obscure Sound: Best of August 2009 appeared first on Obscure Sound: Indie Music Blog.

One of Kill It Kid’s more noticeable trends is their ability to gracefully develop coarse melodies into sprawling emotional epics, as much in their vocal performances as their fury of instrumentation. Turpin and Steph Ward, a pianist and fellow vocalist, create some of the greatest vocal interplays you are bound to hear this year. The five-piece took their name from Blind Willie McTell, a Piedmont blues legend, and Turpin’s vocals pack a similar sense of rawly invigorated passion that is widely associated with the gritty blues-rock of today that is clearly influenced by the bare styles of blues in the past. Ward complements Turpin’s coarsely powerful vocals well, opting to contrast his vocals with a simultaneously angelic and rapturous croon. In the midst of their most powerful duets, it almost sounds like a clash between good and evil. Both vocalists are damn good here though in a qualitative sense though, as if the highly impressive mixture of strings, guitars, and furious percussion was not enough. The group’s blues leanings may lead some to assume they are from the States, but like Bruce Peninsula they show that blues does not have influence strictly on American artists. Kill It Kid hail from the UK, the members growing up around the areas of Bristol and Bath and meeting at the latter’s Bath Spa University. With influences both foreign and native, they have released an album that should amass them a large fanbase with an expansive array of excellent songs that showcase their musicianship, songwriting, and ingenuity in masterful form.

Now that Kill It Kid are signed to one of the UK’s most consistent labels in One Little Indian, success seems imminent. They released their debut single, “Send Me an Angel Down”, in May and have been generating hype ever since. Sporting a graceful arrangement of strings by the talented Richard Jones, “Send Me an Angel Down” was a pretty interesting choice for a single when one considers its depth and structural ingenuity for a debut single. But this is the stuff I love to see out of a young band, taking a risk and choosing to showcase the best representation of their songwriting over one that is potentially the most radio-friendly. This marvelous track grows from a sullen Turpin croon and a soft string accompaniment into one roaring with guitars and percussion, erupting shortly after Ward makes her subtle but important vocal appearance. How the strings gradually go from leading fiddle to collaborating with the guitars and rhythm section is a marvel to witness, as is how both the vocal deliveries of Turpin and Ward tend to variate as the track progresses with youthful glee. It shows that this is a band not afraid to take innovative steps in unveiling their most sincere and forbidden emotions. For a debut album, it is something rare and extraordinary.

For a sound so distinctive and fulfilling, Kill It Kid could have easily provided little diversity in their songwriting and still have resulted in an enjoyable album. But for a group with their apparent ambition, these are inaccurate expectations. “Private Idaho” is one of the few moments where Ward stars with her lead vocals, proving herself to be just as effective as Turpin in the right circumstances. She obviously does not fit as well in the bluesier arrangements, but a nice country-folk number like “Private Idaho” or the dance-room country shuffle of “My Lips Won’t Be Kept Clean” show Ward at her best. The latter is an enthusiastic and fun track, which contrasts some of the album’s strongest material. “Burst Its Banks” plays extraordinarily with the contrast between anthemic string ballads and high-powered guitar anthems, often transitioning unexpectedly but in a way that is unconventionally cohesive. The effort works with extreme precision, specifically the key-aided chorus where both Turpin and Ward relay one of the album’s best moments over a series of twinkling keys and brilliant strings. The string solo that proceeds that is also a spectacle, a technique echoed in the equally powerful “Ivy and Oak”. With its consistency and wondrous array of great moments, Kill It Kid is easily one of the most memorable debuts of 2009 for me. Any fans of folk, blues, or Americana should be in bliss with this album; its confidence and vision is extremely rare for a band of Kill It Kid’s youth.

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Kill It Kid – Burst Its Banks

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Kill It Kid – Send Me an Angel Down

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Kill It Kid – Private Idaho

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